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The Numismatic Chronicle 171 Offprint - Royal Numismatic Society

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100<br />

RICHARD SCHAEFER and ANDREW McCABE<br />

easily be distinguished from a number of other Star asses and semisses, which are<br />

artistically less competent and are of slightly lower weight standard although their<br />

weights do overlap with the bronzes of good style. <strong>The</strong> style of these other pieces,<br />

RRC 196/1 and 196/2 (Figs 3, 4), coincides with that of the other Period 2 bronze<br />

issues (for example RRC 192, 193, 194 and 195). So d’Ailly had reached the point<br />

of distinguishing two different issues of Star bronzes.<br />

Fig. 1: Period 1 as Fig. 2: Period 1 semis<br />

Fig. 3: Period 2 as Fig. 4: Period 2 semis<br />

Fractional Star bronzes are all rare except for the very common quadrantes with<br />

star before the prow. D’Ailly divides the corpus into various styles but does not<br />

propose any specifi c arrangement. However, since he notes that the star-before<br />

quadrantes are lighter and more erratically engraved (Figs 12, 13), this is generally<br />

taken to mean that they are to be associated with Period 2 asses and semisses.<br />

D’Ailly did not notice that among the many lower-weight star-before quadrantes in<br />

his own collection there were four that were of higher weight and in style equal to<br />

the fi ne-style (Period 1) asses and semisses. When the star-before quadrantes were<br />

assigned to Period 2, by association the other star-before fractions became linked to<br />

the Period 2 asses and semisses, and, by default, fractions with star above the prow<br />

were linked to the Period 1 fi ne-style series. <strong>The</strong> arrangement is easy to use, the large<br />

denominations being distinguished on the grounds of Period 1 or 2 style, and the<br />

smaller star-before denominations classifi ed to Period 2 and, by default, star-above<br />

to Period 1.<br />

Crawford does not dispute this arrangement. For RRC 113, he illustrates the as.<br />

For RRC 196 he illustrates the as and the quadrans, although the quadrans which<br />

he uses, the key coin in the story, is of a different and fi ner style than that usually<br />

encountered.

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